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Practice Science o 00 Spee Rich
Practice Science o 00 Spee Rich
OF DRAWING
Plate I
DRAWING
BY
HAROLD SPEED it
Associ de la Socie'te' Nationale des Beaux-Arts, Paris ;
Member of
the Royal Society of Portrait Painters, &>c.
Fourth Edition
LONDON
SEELEY, SERVICE CO. LIMITED
6-
By ALBERT.TF^^.R.C.A.*,M*S^S.6.t =
Wifjl
' 119
Illustrations. l3s. ifett. / \ i \
"
Will be found aft
'
invaluable aid to the student.
' ' '
. . Takes the
. !
APPENDIX 289
INDEX . . . .'.. . . . .
292
xi
LIST OF PLATES
PLATE
I. SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY
FROM THE LIFE IN DIFFERENT STAGES .
Frontispiece
....
.
xiii
LIST OF PLATES
PLATE PAGE
XXXVII. THE BIRTH OF VENUS 166
XIV
LIST OF DIAGRAMS
DIAGRAM PAGB
I. TYPES OF FIRST DRAWINGS BY CHILDREN . . 44
87
V. PLAN OF
AND SHADE .......
CONE ILLUSTRATING PRINCIPLES OF LIGHT
EYES 107
INTRODUCTION
THE best things in an artist's work are so much a
matter of intuition, that there is much to be said
for the point of view that would altogether dis-
courage intellectual inquiry into artistic phenomena
on the part of the artist. Intuitions are shy things
and apt to disappear if looked into too closely. And
there is undoubtedly a danger that too much know-
ledge and training may supplant the natural intuitive
feeling of a student, leaving only a cold knowledge of
the means of expression in its place. For the artist,
if he has the right stuff in him, has a consciousness,
in doing his best work, of something, as Ruskin has
said, "not in him but through him." He has been,
as it were, but the agent through which it has found
expression.
Talent can be described as " that which we have,"
and Genius as "that which has us." Now, although
we may have little control over this power that " has
us," and although it may be as well to abandon
oneself unreservedly to its influence, there can be
little doubt as to its being the business of the artist
to see to it that his talent be so developed, that he
17 B
V
;
INTKODUCTION
may prove a fit instrument for the expression of
whatever it may be given him to express; while
it must be left to his individual temperament to
decide how far it is advisable to pursue any intel-
lectual analysis of the elusive things that are the
true matter of art.
Provided the student realises this, and that art
training can only deal with the perfecting of a means
of expression and that the real matter of art lies
above this and is beyond the scope of teaching, he
cannot have too much of it. For although he must
ever be a child before the influences that move him,
if it is not with the knowledge of the grown man
that he takes off his coat and approaches the craft of
painting or drawing, he will be poorly equipped to
make them a means of conveying to others in ade-
quate form the things he may wish to express.
Great things are only done in art when the creative
instinct of the artist has a well-organised executive
faculty at its disposal.
Morris's
" Art is the expression of pleasure in work."
isnearer the truth, and covers all the arts, but seems,
from its omitting any mention of rhythm, very in-
adequate.
INTRODUCTION
Fromentin's
" Art "
is the expression of the invisible by means of the visible
at its creation.
Now an expression by means of one of our dif-
ferent sense perceptions does not constitute art, or
25
INTRODUCTION
the boy shouting at the top of his voice, giving ex-
pression to his delight in life but making a horrible
noise, would be an artist. If his expression is to be
adequate to convey his feeling to others, there must
be some arrangement. The expression must be
ordered, rhythmic, or whatever word most fitly
conveys the idea of those powers, conscious or un-
conscious, that select and arrange the sensuous
material of art, so as to make the most telling impres-
sion, by bringing it into relation with our innate
sense of harmony. If we can find a rough definition
that will include all the arts, it will help us to see
in what direction lie those things in painting that
make it an art. The not uncommon idea, that
painting is "the production by means of colours
of more or less perfect representations of natural
"
objects will not do. And devoutly to be hoped
it is
80
II
DRAWING
BY drawing is here meant the expression of form
upon a plane surface.
Art probably owes more to form for its range
of expression than to colour. Many of the noblest
things it is capable of conveying are expressed by
form more directly than by anything else. And it
is interesting to notice how some
of the world's
greatest artists have been very restricted in their
use of colour, preferring to depend on form for their
chief appeal. It is reported that Apelles only used
three colours, black, red, and yellow, and Rembrandt
used little else. Drawing, although the first, is also
the last, thing the painter usually studies. There
is more in it that can be taught and that repays
constant application and effort. Colour would seem
to depend much more on a natural sense and to be
less amenable to teaching. A
well-trained eye for
the appreciation of form is what every student
should set himself to acquire with all the might of
which he is capable.
not enough in artistic drawing to portray
It is
accurately and in cold blood the appearance of
objects. To express form one must first be moved
by it. There is in the appearance of all objects,
animate and inanimate, what has been called an
significance, a hidden rhythm that is not
31
DRAWING
caught by the accurate, painstaking, but cold artist.
The form significance of which we speak is never
found in a mechanical reproduction like a photo-
graph. You are never moved to say when looking
at one, " What fine form."
It to say in what this quality consists.
is difficult
37
Ill
VISION
IT necessary to say something about Vision in the
is
89
VISION
objective world, from whence is this knowledge of
distance and the solidity of things? How do we
see the third dimension, the depth and thickness, by
means of flat pictures of two dimensions ?
The power to judge distance is due principally
to our possessing two eyes situated in slightly differ-
ent positions, from which we get two views of
objects, and also to the power possessed by the eyes
of focussing at different distances, others being out
of focus for the time being. In a picture the eyes
can only focus at one distance (the distance the eye
is from the plane of the picture when you are
Diagram I
and when this primitive force was lost sight of, what
a decadence set in !
67
MASS DRAWING
IN the preceding chapter it has, I hope, been shown
that outline drawing is an instinct with Western
artists and has been so from the earliest times that ;
objects.
But there is another basis of expression directly
related to visual appearances that in the fulness of
time was evolved, and has had a very great influence
on modern art. This form of drawing is based on
the consideration of the flat appearances on the
retina, with the knowledge of the felt shapes of
objects for the time being forgotten. In opposition
to line drawing, we may call this Mass Drawing.
The truth of this point of view is
scientific
obvious. If only the accurate copying of the appear-
ances of nature were the sole object of art (an
idea to be met with among students) the problem
of painting would be simpler than it is, and would
be likely ere long to be solved by the photographic
camera.
This form of drawing is the natural means of
expression when a brush full of paint is in your
hands. The reducing of a complicated acpearance
58
1
Plate^X
l
in it what the eye brings means of seeing,"
64
MASS DRAWING
time the artist goes to the selected spot he receives
a different impression, so that he must either paint
all over his picture each time, in which case his
work must be confined to a small scale and will be
hurried in execution, or he must paint a bit of to-
day's impression alongside of yesterday's, in which
case his work will be dull and lacking in oneness
of conception.
And further, in decomposing the colour rays
that come to the eye and painting in pure colour,
while great addition was made to the power of
expressing light, yet by destroying the definitions
and enveloping everything in a scintillating atmos-
phere, the power to design in a large manner was
lost with the wealth of significance that the music
of line can convey.
But impressionism has opened up a view from
which mucJh interesting matter for art is to be
gleaned. And everywhere painters are selecting
from this, and grafting it on to some of the more
traditional schools of design.
Our concern here is with the influence this point
of view hashad upon draughtsmanship. The influ-
ence has been considerable, particularly with those
draughtsmen whose work deals with the rendering
of modern life. It consists in drawing from the ob-
servation of the silhouette occupied by objects in the
field of vision, observing the flat appearance of
Plate XII
67
VI
THE ACADEMIC AND CONVENTIONAL
THE terms Academic and Conventional are much
used in criticism and greatly feared by the criticised,
often without either party appearing to have much
idea of what is meant. New so-called schools of
painting seem to arrive annually with the spring
fashions, and sooner or later the one of last year
gets called out of date, if not conventional and
academic. And as students, for fear of having their
work called by one or other of these dread terms,
are inclined to rush into any new extravagance that
comes along, some inquiry as to their meaning will
not be out of place before we pass on to the chapters
dealing with academic study.
It has been the cry for some time that Schools
of Art turned out only academic students. And
one certainly associates a dead level of respectable
mediocrity with much school work. We can call
to mind a lot of dull, lifeless, highly-finished work,
imperfectly perfect, that has won the prize in many a
school competition. Flaubert says " a form deadens,"
and it does seem as if the necessary formality of
a school course had some deadening influence on
students and that there was some important part
;
* *
* *
THE ACADEMIC AND CONVENTIONAL
considerable ability, for as Burne- Jones says in one
of his letters, " It is veiy difficult to paint even a
bad picture." But had the ability been differently
directed, the pictures might have been good.
It is difficult to explain what is wrong with an
academic drawing, and what is the difference
between it and a fine drawing. But perhaps this
difference can be brought home a little more clearly
if you will pardon a rather fanciful simile. I am
told that if you construct a perfectly fitted engine
the piston fitting the cylinder with absolute
accuracy and the axles their sockets with no space
between, &c. it will not work, but be a lifeless
mass of iron. There must be enough play between
"
the vital parts to allow of some movement " dither
;
74
THE ACADEMIC AND CONVENTIONAL
natural appearances. Those things in the appear-
ance that convey vital expression and are capable
of being translated into the medium he is working
with, have to be sought by the artist, and the
painted symbols of his picture made accordingly.
This lack of the movement of life is never noticed
in a good picture, 011 the other hand the figures
are often felt to move.
Pictures are blamed for being conventional when
it is lack of vitality that is the trouble. If the
convention adopted has not been vitalised by the
emotion that is the reason of the painting, it will,
of course, be a lifeless affair. But however abstract
and unnaturalistic the manner adopted, if it has
been truly felt by the artist as the right means of
expressing his emotional idea, it will have life and
should not be called conventional in the commonly
accepted offensive use of the term.
It is only when a painter consciously chooses a
manner not his own, which he does not comprehend
and is incapable of firing with his own personality,
that his picture is ridiculous and conventional in the
dead sense.
But every age differs in its temperament, and
the artistic conventions of one age seldom fit
another. The artist has to discover a convention
for himself, one that fits his particular individuality.
But this is done simply and naturally not by
starting out with the intention of flouting all
traditional conventions on principle nor, on the
;
79
VII
THE STUDY OF DRAWING
WE have seen that there are two extreme points
of view from which the representation of form can
be approached, that of outline directly related to
the mental idea of form with its touch associa-
tion on the one hand, and that of mass connected
directly with the visual picture on the retina on
the other.
Now, between these two extreme points of view
there are an infinite variety of styles combining
them both and leaning more to the one side or the
other, as the case may be. But it is advisable for
the student to study both separately, for there are
different things to be learnt and different expressive
qualities in nature to be studied in both.
From the study of outline drawing the eye is
trained to accurate observation and learns the ex-
pressive value of a line. And the hand is also
trained to definite statement, the student being
led on by degrees from simple outlines to approach
the full realisation of form in all the complexity
and shade.
of light
But at the same time he should study mass
drawing with paint from the purely visual point
of view, in order to be introduced to the important
study of tone values and the expression of form
by means of planes. And so by degrees he will
80
THE STUDY OF DRAWING
learn accurately to observe and portray the tone
masses (their shapes and values) to which all visual
appearances can be reduced; and he will gradually
arrive at the full realisation of form a realisation
that will bring him to a point somewhat similar
to that arrived at from the opposite point of view
of an outline to which has been added light and
shade, &c.
But unless both points of view are studied,
the student's work will be incomplete. If form
be studied only from the outline point of view, and
what have been called sculptor's drawings alone
attempted, the student will lack knowledge of the
tone and atmosphere that always envelop form
in nature. And also he will be poorly equipped
when he comes to exchange the pencil for a brush
and endeavours to express himself in paint.
And if h'is studies be only from the mass point
of view, the training of his eye to the accurate
observation of all the subtleties of contours and
the construction of form will be neglected. And
he will not understand the mental form stimulus
that the direction and swing of a brush stroke
can give. These and many things connected with
expression can best be studied in line work.
Let the student therefore begin on the principles
adopted in most schools, with outline studies of
simple casts or models, and gradually add light
and shade. When he has acquired more proficiency
he may approach drawing from the life. This is
sufficiently well done in the numerous schools of
art that now exist all over the country. But, at
the same time (and this, as far as I know, is not
done anywhere), the student should begin some
simple form of mass drawing in paint, simple exer-
81 P
Diagram II
83
VIII
u be helpful at first
The simplest and most mechanical way of ob-
serving things as a flat subject is to have a piece
of cardboard with a rectangular hole cut out of the
middle, and also pieces of cotton threaded through
it in such a manner that they make a pattern of
squares across the opening, as in the accompanying
sketch. To make such a frame, get a piece of stiff
cardboard, about 12 inches by 9 inches, and cut a
rectangular hole in the centre, 7 inches by 5 inches,
as in Diagram III. Now mark off the inches on
84
LINE DRAWING: PRACTICAL
all sides of the opening, and taking some black
thread, pass it through the point A
with a needle
(fixing the end at this point with sealing-wax),
...'i
: B
'<
Diagram in
Diagram IV
87
LINE DRAWING: PRACTICAL
In measuring comparative distances the needle
should always be held at arm's length and the eye
kept in one position during the operation; and,
whether held vertically or horizontally, always
kept in a vertical plane, that is, either straight up
and down, or across at right angles to the line of
your vision. If these things are not carefully
observed, your comparisons will not be true. The
method employed is to run the thumb-nail up the
needle until the distance from the point so reached
to the top exactly corresponds with the distance on
the object you wish to measure. Having this care-
fully noted on your needle, without moving the
position of your eye, you can move your outstretched
arm and compare it with other distances on the
object. It is never advisable to compare other than
vertical and horizontal measurements. In our dia-
gram the points were drawn at random and do
not come in any obvious mathematical relationship,
and this is the usual circumstance in nature. But
point C will be found to be a little above the half,
and point D a little less than a third of the way up
the vertical line. How much above the half and
less than the third will have to be observed by eye
and a corresponding amount allowed in setting out
your drawing. In the horizontal distances, E will
be found to be one-fourth the distance from X to
the height of G on the right of our vertical line,
and C a little more than this distance to the left,
while the distance on the right of D is a little less
than one-fifth of the whole height. The height of
B is so near the top as to be best judged by eye,
and its distance to the right is the same as E. These
measurements are never to be taken as absolutely
accurate, but are a great help to beginners in train-
88
Plate XVII
..-.;/:.
:.-.."
Plate XIX
Plate XXI
BY PEUVIS DE CHAVANNES
Note how the contours are searched for expressive forms, the power given to the seated
figure by the right angle of the raised arm, and the contrast between the upright vigour
of the right-hand figure with the softer lines of the middle one
' *
c '
'
' *
c < c
'
'
'
'
'< <
c
LINE DRAWING: PRACTICAL
be led on to appreciate the best you are capable
of appreciating.
Before closing this chapter there are one or two
points connected with the drawing of a head that
might be mentioned, as students are not always
sufficiently on the look out for them.
In our diagram on page 107, let Fig. 1 represent
a normal eye. At Fig. 2 we have removed the skin
and muscles and exposed the two main structural
features in the form of the eye, namely the bony
ring of the socket and the globe containing the
lenses and retina. Examining this opening, we find
from A to B that it runs smoothly into the bony
prominence at the top of the nose, and that the
rest of the edge is sharp, and from point C to E
quite free. It is at point A, starting from a little
hole, that the sharp edge begins
,
and near this
;
Diagram VI
109
IX
MASS DRAWING: PRACTICAL
THIS the form of drawing with which painting
is
110
MASS DRAWING: PRACTICAL
light coining from either the right or left hand, but
not from in front. Try and arrange it so that the
tone of the ground of your cast comes about equal
to the half tones in the relief.
First draw in the outlines of the masses strongly
in charcoal, noting the shapes of the shadows care-
fully, taking great care that you get their shapes
blocked out in square lines in true proportion rela-
tive to each other, and troubling about little else.
Let this be a setting out of the ground upon which
you will afterwards express the form, rather than
a drawing the same scaffolding, in fact, that you
were advised to do in the case of a line drawing,
only, in that case, the drawing proper was to be
done with a point, and in this case the draw-
ing proper is to be done with a brush full of
paint. Fix -the charcoal well with a spray diffuser
and the usual solution of white shellac in spirits
of wine.
Taking raw umber and white (oil paint), mix up
a tone that you think equal to the half tones of the
cast before you. Extreme care should be taken in
matching this tone. Now scumble this with a big
brush equally over the whole canvas (or whatever
you are making your study on). Don't use much
medium, but if it is too stiff to go on thinly enough,
put a little oil with it, but no turpentine. By scumb-
ling is meant rubbing the colour into the canvas,
working the brush from side to side rapidly, and
laying just the thinnest solid tone that will cover the
surface. If this is properly done, and your drawing
was well fixed, you will just be able to see it through
the paint. Now mix up a tone equal to the highest
lights on the cast, and map out simply the shapes
of the light masses on your study, leaving the
111
MASS DRAWING: PRACTICAL
scumbled tone for the half tones. Note carefully
where the light masses come sharply against the
half tones and where they merge softly into them.
You will find that the scumbled tone of your
ground will mix with the tone of the lights with
which you are painting, and darken it somewhat.
This will enable you to get the amount of variety
you want in the tone of the lights. The thicker
you paint the lighter will be the tone, while the
thinner paint will be more affected by the original
half tone, and will consequently be darker. When
this is done, mix up a tone equal to the darkest
shadow, and proceed to map out the shadows in
the same way as you did the lights noting care-
;
126
RHYTHM
r \
Plate XXX
" "
A STUDY FOR A PICTURE or ROSALIND AND ORLANDO
" He
Ros. calls us back ; my pride fell with my fortunes."
RHYTHM
It is proposed to treat the subject from the
material side of line and tone only, without any
reference to subject matter, with the idea of trying
to find out something about the expressive qualities
line and tone are capable of yielding unassociated
with visual things. What use can be made of any
such knowledge to give expression to the emotional
life of the artist is not our concern, and is obviously
a matter for the individual to decide for himself.
Diagram VII
Diagram VIII
Diagram IX
ILLUSTRATING VARIETY IN SYMMETRY
Note how the hollows marked A are opposed by the fullnesses marked B.
142
VARIETY OF LINE
but even here natural conditions make for variety.
The body is seldom, except in soldiering, held in a
143
XII
RHYTHM: UNITY OF LINE
UNITY of line is a bigger quality than variety, and
as requires a larger mental grasp, is more rarely
it
met with. The bigger things in drawing and design
come under its consideration, including, as it does,
the relation of the parts to the whole. Its proper
consideration would take us into the whole field of
Composition, a subject needing far more considera-
tion than can be given to it in this book.
In almost all compositions a rhythmic flow of
lines can be traced. Not necessarily a flow of actual
lines (although these often exist) they may be only
;
And my servant Job shall pray for you. When the morning stars sang together,
and all the sons of God shouted for joy.
Plate XXXII
UNITY OF LINE
man due to the square lines~of the contours, so
is
154
UNITY OF LINE
would alight. I think the duty of the aggressive
standing leg of theleading Bacchante, with its
great look of weight, is to give a look of lightness
to this forward leg of Bacchus, by contrast which
it certainly does. On examining the picture closely
in a good light, you will see that he has had the foot
of Bacchus in several positions before he got it right.
Another foot can distinctly be seen about a couple
of inches or so above the present one. The general
vertical direction of this leg is also against its look
of lightness and motion, tending rather to give it
a stationary, static look. I could not at first see
why he did not bring the foot further to the right,
which would have aided the lightness of the figure
and increased its movement. But you will observe
that this 'would have hurled the whole weight of
the mass of figures on the right, forward on to the
single figure of Ariadne, and upset the balance; as
you can see by covering this leg with your finger and
imagining it swinging to the right. So that Titian,
having to retain the vertical position for Bacchus'
forward leg, used the aggressive standing leg of the
cymbal lady to accentuate its spring and lightness.
A feeling of straight-up-ness in a figure or of the
horizontal plane in anything will produce the same
effect as a vertical or horizontal line without any
actual line being visible. Blake's " Morning Stars Sing-
"
ing Together is an instance of the vertical chord, al-
though there is no actual upright line in the figures.
But they all have a vigorous straight-up-ness that
gives' them the feeling of peace and elevation coupled
with a flame-like line running through them that
gives them their joyous energy. (See page 148.)
The combination of the vertical with the hori-
zontal produces one of the strongest and most arrest-
155
UNITY OF LINE
ing chords that you can make, and it will be found
to exist in most pictures and drawings where
there is the expression of dramatic power.
^ ne cross i s the typical example of this.
It is a combination of lines that instantly
rivets the attention, and has probably
a more powerful effect upon the mind
quite apartfrom anything symbolised
by it than any other simple combina-
tions that could have been devised. How
rih powerful is the effect of a vertical figure,
or even a post, seen cutting the long
horizontal line of the horizon on the
sea-shore. Or a telegraph post by the
side of the road, seen against the long
horizontal line of a hill at sunset. The
look of power given by the vertical lines
of a contracted brow is due to the same
cause. The vertical furrows of the
brow continuing the lines of the nose,
make a continuous vertical which the
horizontal lines of the brow cross (see
Fig. Ain the illustration). The same
cause gives the profile a powerful look
when the eyebrows make a horizontal
line contrasting with the vertical line
of the forehead (Fig. B). Everybody
Diagram XII
knows the look of power associated
with a square brow it is not that the
:
168
UNITY OF LINE
quality is the work of the remarkable Spanish
painter usually called El Greco, two of whose works
are here shown (page 172). Whatever may be
said by the academically minded as to the in-
correctness of his drawing, there can be no two
opinions as to the remarkable rhythmic vitality of
his work. The upward flow of his lines and the
flame-like flicker of his light masses thrills one in
much the same way as watching a flaring fire.
There is something exalting and stimulating in it,
although, used to excess as he sometimes uses it,
it is apt to suffer from lack of repose. Two examples
of his pictures are reproduced here, and illustrate
his use of this form of movement in the lines and
masses of his compositions. Nowhere does he let
the eye rest, but keeps the same flickering movement
going throughout all his masses and edges. The
extraordinary thing about this remarkable painter
is that while this restless, unrestrained form of
composition makes his work akin to the rococo work
of a later period, there is a fiery earnestness and
sincerity in all he does, only to be matched among
the primitive painters of the fourteenth and fifteenth
centuries, and very different from the false sentiment
of the later school.
Blake was also fond of this flame line, but usually
used it in combination with more straight lines
than the energetic Spaniard allowed himself. Plates
III and V
in the Job series are good examples
of his use of this form. In both cases it will be
seen that he uses it in combination with the steady-
ing influence of straight lines, which help to keep
the balance and repose necessary in the treatment
of even the most violent subjects in art.
A continual interruption in the flow of lines, and
169
S I
I |
4
i i
I!
o '5
3 .25.
w -s
a s
11
UNITY OF LINE
/
'
V. ;;::::.
Photo Anderson
Diagram XVIII
Diagram XIX
DiagramXXI A
ILLUSTRATING THE EFFECT ON THE FACE OF PUTTING
THE HAIR UP AT THE BACK. HOW THE UPWARD
FLOW OF LINES ACCENTUATES THE SHARPNESSES
OF THE FEATURES
Diagram XXII
184
XIII
VARIETY OF MASS
THE masses that go to make up a picture have
variety in their shape, their tone values, their edges,
in texture or quality, and in gradation. Quite a
formidable list, but each of these particulars has
some rhythmic quality of its own about which it
will be necessary to say a word.
As to variety of shape, many things that were
said about lines apply equally to the spaces enclosed
by them. It is impossible to write of the
y of
rhythmic possibilities that the infinite jj|*
variety of shapes possessed by natural
objects contain, except to point out how necessary
the study of nature is for this. Variety of shape is
one of the most difficult things to invent, and one
of the commonest things in nature. However
imaginative your conception, and no matter how
far you may carry your design, working from
imagination, there will come a time when studies
from nature will be necessary if your work is
to have the variety that will give life and
interest. Try and draw from imagination a row
of elm trees of about the same height and distance
apart, and get the variety of nature into them;
and you will see how difficult it is to invent.
On examining your work you will probably
discover two or three pet forms repeated, or there
may be only one. Or try and draw some cumulus
clouds from imagination, several groups of them
185
VARIETY OF MASS
across a sky,and you will find how often again
you have repeated unconsciously the same forms.
How tired one gets of the pet cloud or tree of a
painter who does not often consult nature in his
pictures. Nature is the great storehouse of variety
;
186
VARIETY OF MASS
a chance you will find that the leaves and flowers
have arranged themselves much more harmoni-
ously. And if you cut down one of a group of
trees, what a harsh discordant gap is usually left;
but in time nature will, by throwing a bough here
and filling up a gap there, as far as possible rectify
matters and bring all into unity again. I am
prepared to be told this has nothing to do with
beauty but is only the result of nature's attempts
to seek for light and air. But whatever be the
physical cause, the fact is the same, that nature's
laws tend to pictorial unity of arrangement.
It will be as well to try and explain what is
meant by tone values. All the masses or tones
(for the terms are often used interchange- Variety of
ably) that go to the making of a visual Tone
, i j i j.-
Values.
impression can be considered in relation
to an imagined scale from white, to represent the
lightest, to black, to represent the darkest tones.
This scale of values does not refer to light and
shade only, but light and shade, colour, and the whole
visual impression are considered as one mosaic of
masses of different degrees of darkness or lightness.
A dark object in strong light may be lighter than
a white object in shadow, or the reverse it will
:
O A B
Diagram XXIII
199
XIV
UNITY OF MASS
WHAT has been said about unity of line applies
obviously to the outlines bounding the masses, so
that we need not say anything further on that sub-
ject. The particular quality of which something
should be said, is the unity that is given to a picture
by means of a well-arranged and rhythmically con-
sidered scheme of tone values.
The modifications in the relative tone values of
objects seen under different aspects of light and
atmosphere are infinite and ever varying; and this
is quite a special study in itself. Nature is the
great teacher here, her tone arrangements always
possessing unity. How kind to the eye is her
attempt to cover the ugliness of our great towns in
an envelope of atmosphere, giving the most wonder-
ful tone symphonies; thus using man's desecration
of her air by smoke to cover up his other desecra-
tion of her country-side, a manufacturing town.
This study of values is a distinguishing feature of
modern art. But schemes taken from nature are not
the only harmonious ones. The older masters were
content with one or two well-tried arrangements of
tone in their pictures, which were often not at all
true to natural appearances but nevertheless har-
monious. The chief instance of this is the low- toned
sky. The painting of flesh higher in tone than the
200
UNITY OF MASS
sky was almost universal at many periods of art,
and in portraits is stilloften seen. Yet it is only
in strong sunlight that this is ever so in nature, as
you can easily see by holding your hand up against
a sky background. The possible exception to this
rule is a dark storm-cloud, in which case your hand
would have to be strongly lit by some bright light
in another part of the sky to appear light against it.
This high tone of the sky is a considerable diffi-
culty when one wishes the interest centred on the
figures. The eye instinctively goes to the light
masses in a picture, and if these masses are sky, the
figures lose some importance. The fashion of lower-
ing its tone has much to be said for it on the score
of the added interest it gives to the figures. But it
is apt to bring a heavy stuffy look into the atmos-
203
UNITY OF MASS
Another method is to put down the highest
light and the darkest dark, and then work your
scale of tone relatively between them. But it will
\
UNITY OF MASS
his lectures, by making the shadows all tho same
brown colour, to keep a harmony in his work.
There is some analogy between straight lines
and flat tones, and curved lines and gradated tones.
And a great deal that was said about the rhythmic
significance of these lines will apply equally well
here. What was said about long vertical and hori-
zontal lines conveying a look of repose and touching
the serious emotional notes, can be said of large
flat tones. The feeling of infinity suggested by a
wide blue sky without a cloud, seen above a wide
bare plain, is an obvious instance of this. And for the
same harmonic cause, a calm evening has so peaceful
and infinite an expression. The waning light darkens
the land arid increases the contrast between it and the
sky, with the result that all the landscape towards
the west is reduced to practically one dark tone, cut-
ting sharply against the wide light of the sky.
And the graceful charm of curved lines swinging
in harmonious rhythm through a composition has
its analogy in gradated tones. Watteau and Gains-
borough, those masters of charm, knew this, and
in their most alluring compositions the tone-music
is founded on a principle of tone-gradations, swing-
210
UNITY OF MASS
refreshment in the contemplation of delightful things.
And a great deal of this charm is due to the pretty
play from a crescendo to a diminuendo in the tone
values on which his compositions are based so far
removed from the simple structure of flat masses to
which more primitive and austere art owes its power.
But Watteau's great accomplishment was in
doing this without degenerating into feeble pretti-
ness, and this he did by an insistence on character
in his figures, particularly his men. His draperies
also are always beautifully drawn and full of variety,
never feeble and characterless. The landscape back-
grounds are much more lacking in this respect,
nothing ever happened there, no storms have ever
bent his -graceful tree-trunks, and the incessant
gradations might easily become wearisome. But
possibly the charm in which we delight would be lost,
did the landscape possess more character. At any
rate there is enough in the figures to prevent any
sickly prettiness, although I think if you removed
the figures the landscape would not be tolerable.
But the followers of Watteau seized upon the
prettiness and gradually got out of touch with the
character, and if you compare Boucher's heads,
particularly his men's heads, with Watteau's you
may see how much has been lost.
The following are three examples of this gradated
tone composition (see pages 210, 213, 215) :
Diagram XXVI
215
UNITY OF MASS
and need be added to the description already
little
218
XV
BALANCE
THERE seems to be a strife between opposing forces
at the basis of all things, a strife in which a per-
fect balance is never attained, or life would cease.
The worlds are kept on their courses by such op-
posing forces, the perfect equilibrium never being
found, and so the vitalising movement is kept up.
States are held together on the same principle, no
State seeming able to preserve a balance for long;
new forces arise, the balance is upset, and the
State totters until a new equilibrium has been
found. It would seem, however, to be the aim
of life to strive after balance, any violent deviation
from which is accompanied by calamity.
And in art we havethe same play of opposing
factors, straight lines andcurves, light and dark,
warm and cold colour oppose each other. Were
the balance between them perfect, the result would
be dull and dead. But if the balance, is very much
out, the eye is disturbed and the effect too dis-
quieting. It will naturally be in pictures that aim
at repose that this balance will be most perfect.
In more exciting subjects less will be necessary,
but some amount should exist in every picture, no
matter how turbulent its motive as in good tragedy
;
Diagram XXVII
226
XVI
RHYTHM: PROPORTION
RULES and canons of proportion designed to reduce
to a mathematical formula the things that move us
in beautiful objects, have not been a great success ;
232
B
238
Diagram XXVIII (3)
234
PROPORTION
as if made of glass, so as not to increase the swing
to the right occasioned by the heads. It is interest-
ing to note the fruit introduced at the last moment
in the right-hand lower corner, dragged in, as it
were, to restore the balance occasioned by the figure
of the Christ being on the left. In the writer's
humble opinion the extremely obvious artifice
with which the lines have been balanced, and the
severity of the convention of this composition gener-
ally, are out of harmony with the amount of natural-
istic detail and particularly of solidity allowed in the
treatment of the figures and accessories. The small
amount of truth to visual nature in the work of
earlier men went better with the formality of such
compositions. With so little of the variety of life
in their treatment of natural appearances, one was
not led to demand so much of the variety of life
in the arrangement. It is the simplicity and re-
moteness from the full effect of natural appearances
in the work of the early Italian schools that made
their painting such a ready medium for the expres-
sion of religious subjects. This atmosphere of
other- worldliness where the music of line and colour
was uninterrupted by any aggressive look of real
things is a better convention for the expression
of such ideas and emotions.
In B and C the proportions of the third and
the quarter are shown, producing the same static
effect as the half, although not so completely.
At D, E, F the same number of lines and spots .
238
XVII
PORTRAIT DRAWING
THERE is something in every individual that is likely
for a long time to defy the analysis of science.
When you have summed up the total of atoms or
electrons or whatever it is that goes to the making
of the tissues and also the innumerable complex
functions performed by the different parts, you have
not yet got on the track of the individual that
governs the whole performance. The effect of this
personality 011 the outward form, and the influence
it has in modifying the aspect of body and features,
are the things that concern the portrait draughts-
man: the seizing on and expressing forcefully the
individual character of the sitter, as expressed by
his outward appearance.
This character expression in form has been
thought to be somewhat antagonistic to beauty,
and many are shy of the particular char-
sitters
acteristics own features. The fashionable
of their
photographer, knowing this, carefully stipples out
of his negative any striking characteristics in the
form of his sitter the negative may show. But
judging by the result, it is doubtful whether any
beauty has been gained, and certain that interest
and vitality have been lost in the process. What-
ever may be the nature of beauty, it is obvious that
what makes one object more beautiful than another
239
PORTRAIT DRAWING
issomething that is characteristic of the appearance
of the one and not of the other so that some close
:
official occasions.
to-day."
255
XVIII
THE VISUAL MEMOKY
THE memory is the great storehouse of artistic
Plate LIV
264
XIX
PROCEDURE
IN commencing a drawing, don't, as so many
students do, start carelessly floundering about with
your chalk or charcoal in the hope that something
will turn up. It is seldom if ever that an artist puts
on paper anything better than he has in his mind
before he starts, and usually it is not nearly so
good.
Don't spoil the beauty of a clean sheet of paper
by a lot of scribble. Try and see in your mind's eye
the drawing you mean to do, and then try and make
your hand realise it, making the paper more beauti-
ful by every touch you give instead of spoiling it
by a slovenly manner of procedure.
To know what you want to do and then to do
it is the secret of good style and technique. This
sounds very commonplace, but it is surprising how
few students make it their aim. You may often
observe them come in, pin a piece of paper on their
board, draw a line down the middle, make a few
measurements, and start blocking in the drawing
without having given the subject to be drawn a
thought, as if it were all there done before them,
and only needed copying, as a clerk would copy a
letter already drafted for him.
Now, nothing is being said against the practice
of drawing guide lines and taking measurements
265
PROCEDURE
and blocking in your work. This is very necessary
in academic work, if rather fettering to expressive
drawing; but even in the most academic drawing
the artistic intelligence must be used, although
that is not the kind of drawing this chapter is
particularly referring to.
Look well at the model first try and be moved
;
270
XX
MATERIALS
THE materials in which the artist works are of the
greatest importance in determining what qualities
in the infinite complexity of nature he selects for
expression. And the good draughtsman will find
out the particular ones that belong to whatever
medium he selects for his drawing, and be careful
never to attempt more than it is capable of doing.
Every material he works with possesses certain
vita/1 qualities peculiar to itself, and it is his business
to find out what these are and use them to the
advantage of his drawing. When one is working
with, say, pen and ink, the necessity for selecting
only certain things is obvious enough. But when
a medium with the vast capacity of oil paint is
being used, the principle of its governing the nature
of the work is more often lost sight of. So near
can oil paint approach an actual illusion of natural
appearances, that much misdirected effort has been
wasted on this object, all enjoyment of the medium
being subordinated to a meretricious attempt to
deceive the eye. And I believe a popular idea of
the art of painting is that it exists chiefly to pro-
duce this deception. No vital expression of nature
can be achieved without the aid of the particular
vitality possessed by the medium with which one
is working. If this is lost sight of and the eye is
271
MATERIALS
tricked into thinking that it is looking at real
nature, it not
is a fine picture. Art is not a sub-
stitute for nature, but an expression of feeling
produced in the consciousness of the artist, and
intimately associated with the material through
which it is expressed in [his work. Inspired, it may
be, in the first instance, by something seen, and
expressed by him in painted symbols as true to
nature as he can make them while keeping in
tune to the emotional idea that prompted the work ;
than useless.
Charcoal is fixed by means of a solution of white
shellac dissolved in spirits of wine, blown on with a
spray diff user. This is sold by the artists' colourmen,
or can be easily made by the student. It lightly de-
posits a thin film of shellac over the work, acting
as a varnish and preventing its rubbing off
277
MATERIALS
Charcoal is not on the whole the medium an
artist with a pure love of form selects, but rather
that of the painter, who uses it when his brushes
and paints are not handy.
A delightful medium that can be used for either
pure line work or a mixed method of drawing, is
Red c&aik cna ^k. This natural red earth is one
(San- of the most ancient materials for drawing.
It is a lovely Venetian red in colour, and
works well in the natural state, if you get a good
piece. It is sold by the ounce, and it is advisable to
try the pieces as they vary very much, some being
hard and gritty and some more soft and smooth.
It is also made by Messrs. Conte of Paris in sticks
artificially prepared. These work well and are never
gritty, but are not so hard as the natural chalk,
and consequently wear away quickly and do not
make fine lines as well.
Red chalk when rubbed with the finger or a
rag spreads evenly on paper, and produces a middle
tone on which lights can be drawn with rubber
or bread. Sticks of hard, pointed rubber are every-
where sold, which, cut in a chisel shape, w ork r
278
MATERIALS
Most of the drawings by the author reproduced
in thisbook are done in this medium. For drawings
intended to have a separate existence it is one of
the prettiest mediums. In fact, this is the danger
to the student while studying your drawing looks so
:
"
STUDY IN PEN AND INK AND WASH FOR TREE IN THE BOAR HUNT
RUBENS (LOUVRE)
MATERIALS
student to hope to do much with in his studies,
although for training the eye and hand to quick
definite statement of impressions, there is
much to be said for it. No hugging of half
tones is possible, things must be reduced to
a statement of clear darks which would be a useful
corrective to the tendency so many students have
of seeing chiefly the half tones in their work.
The kind of pen used will depend on the kind of
drawing you wish to make. In steel pens there are
innumerable varieties, from the fine crow-quills to the
"
thick " J nibs. The natural crow-quill is a much
more sympathetic tool than a steel pen, although
not quite so certain in its line. But more play and
variety is to be got out of it, and when a free pen
drawing is wanted it is preferable.
Reed pens are also made, and are useful when
thick lines are wanted. They sometimes have a
steel spring underneath to hold the ink somewhat in
the same manner as some fountain pens.
There is even a glass pen, consisting of a sharp-
pointed cone of glass with grooves running down
to the point.The ink is held in these grooves,
and runs down and is deposited freely as the pen
is used. A line of only one thickness can be drawn
with it, but this can be drawn in any direction, an
advantage over most other shapes.
Etching is a process of reproduction that consists
in drawing with a steel point on a waxed plate of
copper or zinc, and then putting it in a
bath of diluted nitric acid to bite in the
lines. The longer the plate remains in the bath
the deeper and darker the lines become, so that
variety in thickness is got by stopping out with a
vuriiish the light lines when they are sufficiently
283
MATERIALS
strong, and
letting the darker ones have a longer
exposure to the acid.
Many wonderful and beautiful things have been
done with this simple means. The printing consists
in inking the plate all over and wiping off until
only the lines retain any ink, when the plate is put
in a press and an impression taken. Or some slight
amount of ink may be left on the plate in certain
places where a tint is wanted, and a little may be
smudged out of the lines themselves to give them
a softer quality. In fact there are no end of tricks
a clever etching printer will adopt to give quality
to his print.
The varieties of paper on the market at the
service of the artist are innumerable, and nothing
need be said here except that the texture of
your paper will have a considerable influence
on your drawing. But try every sort of paper so as
to find what suits the particular things you want to
express. I make a point of buying every new paper
I see, and a new paper is often a stimulant to some
new quality in drawing. Avoid the wood-pulp papers,
as they turn dark after a time. Linen rag is the
only safe substance for good papers, and artists now
have in the O.W. papers a large series that they can
rely on being made of linen only.
It is sometimes advisable, when you are not
drawing a subject that demands a clear hard line,
but where more sympathetic qualities are wanted,
to have a wad of several sheets of paper under the
one you are working on, pinned on the drawing-
board. This gives you a more sympathetic surface
to work upon and improves the quality of your work.
In redrawing a study with which you are not quite
satisfied, it is a good plan to use a thin paper,
284
MATERIALS
pinning it over the first study so that it can be seen
through. One can by this means start as it were
from the point where one left off. Good papers of
this description are now on the market. I fancy
" "
they are called bank-note papers.
285
XXI
CONCLUSION
MECHANICAL invention, mechanical knowledge, and
even a mechanical theory of the universe, have so
influenced the average modern mind, that it has
been thought necessary in the foregoing pages to
speak out strongly against the idea of a mechanical
standard of accuracy in artistic drawing. If there
were such a standard, the photographic camera
would serve our purpose well enough. And, con-
sidering how largely this idea is held, one need not
be surprised that some painters use the camera;
indeed, the wonder is that they do not use it more,
as it gives in some perfection the mechanical accu-
racy which is all they seem to aim at in their work.
There may be times when the camera can be of use
to artists, but only to those who are thoroughly com-
petent to do without it to those who can look, as
it were, through the photograph and draw from it
with the same freedom and spontaneity with which
they would draw from nature, thus avoiding its dead
mechanical accuracy, which is a very difficult thing
to do. But the camera is a convenience to be avoided
by the student.
Now, although it has been necessary to insist
288
APPENDIX
IF you add a line of 5 inches to one of 8 inches you
produce one 13 inches long, and if you proceed by
always adding the last two you arrive at a series of
lengths, 5, 8, 13, 21, 34, 55 inches, &c. Mr. William
Schooling tells me that any two of these lines adjoin-
ing one another are practically in the same propor-
tion to each other that is to say, one 8 inches is 1-600
;
I I I
A O D
THE PHI PROPORTION
BC is 1-618033, &c., times size of AB,
BC,
DE CD, &c,,
AC = CD
BD = DE, &c.
289 T
APPENDIX
Testing this proportion on the reproductions of
pictures in this book in the order of their appearing,
we find the following remarkable results :
Corners of the panel or canvas, the, Figure work, colours for, 273
160 "Finding of the Body of St. Mark,"
Corot, his masses of foliage, 197, 123, 236
214 Fixing positions of salient points,
Correggio,, 206 86
Crow-quill pen, the, 283 Flaubert, 68
Curves, how to observe the shape Foliage, treatment of, 196
of, 90, 162, 209 Foreshortenings, 93
Curves and straight lines, 220 Form and colour, 18
Form, the influence of, 32
DARWIN, anecdote of, 243 Form, the study of, 81
Deadness, to avoid, 132, 193 Frans Hals, 246
Decorative work, 183 French Revolution, Carlyle's, 64
Degas, 66 French schools, 68
"
Dither," 71 Fripp, Sir Alfred, 91
Diagonal lines, 160 Fromentin's definition of art, 23
Discord and harmony, 173 Fulness of form indicated by shad-
Discordant lines, 172 ing, 102, 124
Draperies of Watteau, the, 211
Drapery studies in chalks, 125 GAINSBOROUGH, the charm of, 209,
Drapery in portrait-drawing, 253 223
Draughtsmanship and impression- Genius and talent, 17
ism, 66 Geology, the study of, 36
Drawing, academic, 35 Giorgioni, 151, 196
"
Drawing, definition of, 31 Giorgioni, The School of," Walter
Pater's, 29
EAST, arts of the, 57 Giotto, 222
Edges, variety of, 192 Glass pens, 283
Edges, the importance of the Goethe, 64
subject of, 198 Gold point, 275
Egg and dart moulding, 138 Gold and silver paint for shading,
Egyptian sculpture, 135 125
Egyptian wall paintings, 51 Gothic architecture, 148, 150
El Greco, 169 Gradation, variety of, 199
Elgin Marbles, the, 135 Greek architecture, 221
Ellipse, the, 138 Greek art in the Middle Ages, 130
" Greek
Embarquement pour Pile de art, variety in, 133
Cy there," Watteau 's, 211 Greek vivacity of moulding, 134
Emerson on the beautiful, 214 Greek and Gothic sculpture, 147
293
INDEX
Greek type of profile, 140 Likeness, catching the, 240
Greuze, 221 Line and the circle, the, 137
Line drawing and mass drawing,
HAIB, the treatment of, 77, 102 48, 50
Hair, effect of style upon the face, Lines expressing repose or energy,
180 163
Half tones, 98 Line, the power of the, 50, 80
" Hannibal
crossing the Alps," Tur- Lines, value of, in portrait -painting,
ner's, 163 138
Hardness indicated by shading, 102 Lines of shading, different, 102, 123
Harsh contrasts, effect of, 171 Lithographic chalk, 192
Hatching, 118 Lithography, 281
" Love and
Health, questions of, 269 Death," Watts' 156
Henner, the work of, 124
High lights, 94 MANET, 206
Hogarth's definition, 136 Mass drawing, 49, 58, 80, 81, 110
Holbein's drawings, 99, 179, 247 Masters, past and modern, 272
Holl, Frank, 222 Materials, 271
Horizontal, calm and repose of the, Mathematical proportions, 228
150 Measuring comparative distances,
Horizontal and vertical, the, 149 88
Hwnan Anatomy for Art Students, 91 Measurements, vertical and hori-
Human figure, the outline of the, 52 zontal, 88
Medium, the use of, 111
IMPRESSIONISM, 195, 257 Michael Angelo, the figures of, 33,
Impressionist vision, Gl 53,56
Ingres, studies of, 73, 274 Michael Angelo and Degas, 66
Ink used in lithography, 282 Millais, 196
Intellect and feeling, 19 Mist, effect of a, on the tone of a
Intuitions, 17 picture, 188
Italian Renaissance, the, 51 Model, the, 61, 81
Italian work in the fifteenth century, Monet, Claude, 118
34 Morris's definition of art, 19
Lehmann, R., portraits by, 250 PAINT, the vitality of, 114
Leonardo da Vinci, 51, 206, 227 Paint, the consistency of, 117
Light, 38 Paint, effect of oil in thick, 191
Light and shade, principles of, 51, "Painted Poetry," 46
95 Painter's training, the object of
Lighting and light effects, 202 the, 29
294
INDEX
Painting and drawing, 110 Reynolds' contrasts of colour, 208
Panel or canvas, the, 159 Rhythm, definition of, 27, 127,
Paolo Uccello, 171 227
Paolo Veronese, 145, 163 Right angle, power of the, 156
Paper for drawing, 279, 284 Roman sculpture, lack of vitality
Parallel shading, 100 in, 133
Parallelism of lines, 145 Rossetti, 55
Parthenon, the, 55 Royal Academy Schools, 69
Pater, Walter, 29 Rubens, 162
Pen-and-ink drawing, 101, 282 Ruskin, 17
Pens for pen-and-ink drawing, 283
Perspective, the study of, 36, 195 SCHOOLS of Art, 68
Philip IV, Velazquez' portrait of, Scientific and artistic accuracy, 36
Scientific study, necessity for, 36
Photograph, failure of the, 72 Scumbling, 111
Picture galleries, the influence of, Shading, 51, 93, 101, 124
33 Shape, variety of, 185
Pictures, small and large, treatment Silhouette, the, 66
of, 183 Silver-point, 275
Planes of tone, painting in the, Silver-point work, shading in, 101
122 Sitter, the, 249
Pre-Raphaelite paintings, 46 Softness indicated by shading, 102,
Pre-Raphaelite movement, the, 257 123
Preparatory drawings, disadvantage Solar spectrum, the, 38
of, 121 Solids as flat copy, 84
Primitive art, 55, 128 Spanish school, the, 62
Primitive emotions, 21 Straight lines indicative of strength,
Procedure, in commencing a draw- 148
ing, 265 Straight lines and flat tones, analogy
Profiles, beauty of, 140 between, 209
Proportions, 228 Strong light in contrast with dark
Poppy oil and turpentine, the use shadow, 206
of, 119 Study of drawing, the, 80
Portrait-drawing, 99, 239 Stump, the, 54
" Portrait of the Artist's
Daughter," Style, 288
Sir B. Burne-Jones's, 177
" Sublime and the
Beautiful, The,"
Pose, the, 251 Burke's, 135
Peuvis de Chavannes, 55, 103 " Surrender of
Breda, The," Velaz-
quez', 161, 194
QUALITY and tezture, variety in, Sympathetic lines, 173
189
TALENT and genius, 17
RADIATING lines, 171 Teachers in Art Schools, 69
"Rape of Europa, The," Paul Technical side of an art, the, 21
Veronese's, 163 Thickness and accent, variety of,
Raphael, 53, 231 143
Red rays, 39, 192, 278 Tintoretto, 123. 237
Reed pens, 283 Titian, 53, 154
Rembrandt and his colours, 31, 204, Tolstoy's definition of art, 19
208 Tone, meaning of the word, 121
Reproduction, advantages of up-to- 187, 208
date, 104, 269 Tone values, variety of, 187
Retina, effect of light on the, 38 Toned paper, drawing on, 126
295
INDEX
Tones, large flat, the effect of, 207 Venetians, system and principles of
Touch, the sense of, 40 design of the, 217
Trafalgar Square lions, the, 78 "Venus, Mercury, and Cupid,"
Trees, the masses of, 196 Correggio's, 206
Turner, 163, 205, 214, 223 Vertical, the, associated with the
Types, lifelessness of, 134 sublime, 149
Vertical lines, feeling associated
"ULYSSES deriding Polyphemus," with, 182
Turner's, 214 Vision, 38
Unity and variety, 132 Visual blindness, 47
Unity of line, 144 Visual memory, the, 256
" VALE of
Rest," Millais', 196
Value, meaning of the word as WARD, the animal painter, 124
applied to a picture, 188 Warm colours, 224
Values of tone drawing, the, 122 Watteau, the charm of, 209
Van Dyck, his use of the straight Watts, Gr. F., portraits by, 249
line, 151 Watts' use of the right angle, 156
Variety in symmetry, 142 Windsor, Holbein's portraits at.
"
Variety in Unity," 136 247
"
Varying well," 136 Whistler, a master of tone, 190,
Velazquez, 53, 60, 161 222, 251
Venetian painters, and the music White casts, drawing from, 99
of edges, 193 White chalk, 180
Venetians, the, their use of straight White paint, 191
lines, 151 White pastel, 280
Tki Mayflower Prtss, Plymouth, England. William Brendon & Son, Ltd.
1920
TO TO BORKOWED
LOAN DEPT.
immediate recall.
r* ihiect to
Renewed books are subject
AUG1073-12AM1 7
Library .